Ludwig Van Rncm Strings Weekend

Total Page:16

File Type:pdf, Size:1020Kb

Ludwig Van Rncm Strings Weekend Saturday 16 – Sunday 17 March LUDWIG VAN RNCM STRINGS WEEKEND /rncmvoice /rncmlive Box Office 0161 907 5555 www.rncm.ac.uk/stringsweekend WELcome… …to the RNCM Strings Weekend, which this year forms part of the RNCM’s Ludwig van season, an eight month festival dedicated to the music and legacy of Beethoven, running through to June 2013. This year’s Strings Weekend presents the unparalleled opportunity to hear all of Beethoven’s ten violin sonatas, as well as his five cello sonatas, featuring performances from RNCM students, alumni, tutors and special guests. Unlike many other genres, nine of the composer’s violin sonatas were written in just six years between 1797 and 1803, and yet the transformation of this genre even in this strikingly short period of his life is unmistakable. We are particularly delighted to welcome the French violinist Olivier Charlier who is in residence over the weekend, giving a masterclass on Beethoven’s Violin Concerto, as well as performing two of the ten violin sonatas. Alongside these performances are lectures by the editor and Beethoven authority Jonathan Del Mar and the violinist Peter Sheppard Skærved. We also welcome the bow maker Peter Oxley who gives an illustrated talk on Sunday morning, while a comprehensive exhibition featuring the UK’s leading luthiers and bow makers will be on display throughout the weekend. We hope you will join us for this unique exploration of Beethoven’s string sonatas, and look forward to welcoming you to the RNCM. Chris Hoyle artistic director SATURDAY 16 MARCH 10.30am RNCM Concert Hall 3pm RNCM Concert Hall Rosemary Attree and Yelian He Violin Masterclass with Ludwig van Beethoven Violin Sonata No 6 Olivier Charlier in A major Op 30 No 1 Olivier Charlier works with RNCM students Ludwig van Beethoven Cello Sonata No 1 on Beethoven’s Violin Concerto. in F major Op 5 No 1 Tickets £6 Rosemary Attree violin Yelian He cello Daniel Browell, Yasmin Rowe piano 5.30pm Carole Nash Recital Room Tickets £6 Ruth Gibson, Svetlana Mochalova and Bing Xiang 11.30am Carole Nash Recital Room Ludwig van Beethoven Duo for viola and cello in E flat major WoO 32 ‘Eyeglass’ Editing Beethoven’s Cello Sonatas Ludwig van Beethoven Notturno in D major for with Jonathan Del Mar viola and piano Op 42 Jonathan Del Mar, the editor of the Bärenreiter Ludwig van Beethoven Violin Sonata No 3 Urtext edition of Beethoven’s cello sonatas, in E flat major Op 12 No 3 responds to questions raised by RNCM Bing Xiang violin students in this interactive session. Ruth Gibson viola Tickets £6 Svetlana Mochalova cello Antoine Françoise, Ellena Hale piano Tickets £6 1.30pm RNCM Concert Hall Joris van den Berg 7.30pm RNCM Concert Hall and Olivier Charlier RNCM String Ensemble Ludwig van Beethoven Cello Sonata No 3 in A major Op 69 Ludwig van Beethoven String Quintet Ludwig van Beethoven Violin Sonata No 7 in C minor Op 104 in C minor Op 30 No 2 Ludwig van Beethoven (arr Mahler) String Quartet in F major Op 95 (arranged for string orchestra) Olivier Charlier violin Joris van den Berg cello Solem Quartet with Charlotte Daw Martijn Willers, Jeremy Young piano RNCM String Ensemble Levon Chilingirian conductor Tickets £6 Tickets £12 SUNDAY 17 MARCH 10.30am RNCM Concert Hall 2.30pm RNCM Concert Hall Leland Chen and Ami Oike Cello Masterclass Ludwig van Beethoven Violin Sonata No 1 with Karine Georgian in D major Op 12 No 1 Three Stages of a Creative Life Ludwig van Beethoven Violin Sonata No 2 Karine Georgian works with RNCM students on in A major Op 12 No 2 a selection of Beethoven’s five cello sonatas. Leland Chen, Ami Oike violin Tickets £6 Jonathan Scott, Ben Powell piano Tickets £6 2.30pm Carole Nash Recital Room Beethoven Explored: Opening 11.30am Carole Nash Recital Room the Composer’s Workshop Revolutionary Bow Making Lecture Recital with Peter Sheppard Skærved Lecture Demonstration with Peter Oxley Beethoven began his working life as a professional Peter Oxley discusses the art of bow making in violist in Bonn, working alongside Anton Reicha Beethoven’s lifetime, with special reference to and the Rombergs. Upon arriving in Vienna in the groundbreaking work of François Tourte. 1792, he continued to collaborate with a team of string players. Peter Sheppard Skærved explores Tickets £6 this process, how it is reflected in his output, and how we might reflect it in our performance 1.30pm RNCM Concert Hall of work from this period. Music will include works by Beethoven, Franz Clement, Josef Sophie Rosa and Philip Higham Mayseder, Andreas Romberg and Anton Reicha. Ludwig van Beethoven Violin Sonata No 8 Tickets £6 in G major Op 30 No 3 Ludwig van Beethoven Cello Sonata No 5 in D major Op 102 No 2 Sophie Rosa violin Philip Higham cello Elena Nemtsova, Jeremy Young piano Tickets £6 5pm Carole Nash Recital Room Kana Ohashi and Caroline Pether Ludwig van Beethoven Violin Sonata No 4 in A minor Op 23 Ludwig van Beethoven Violin Sonata No 5 in F major Op 24 Kana Ohashi, Caroline Pether violin Ellena Hale, James Vaughan piano Tickets £6 7pm RNCM Concert Hall Olivier Charlier, Levon Chilingirian, Hannah Roberts and Mikhail Nemtsov Ludwig van Beethoven Violin Sonata No 10 in G major Op 96 Ludwig van Beethoven Cello Sonata No 2 in G minor Op 5 No 2 Ludwig van Beethoven Cello Sonata No 4 in C major Op 102 No 1 Ludwig van Beethoven Violin Sonata No 9 in A major Op 47 ‘Kreutzer’ Olivier Charlier, Levon Chilingirian violin Hannah Roberts, Mikhail Nemtsov cello Elena Nemtsova, Simon Parkin, Ben Powell, Jonathan Scott piano Tickets £17 £14 BOOKING HOW TO FIND US Weekend Ticket £60 The RNCM is situated 1 mile south of Saturday Day Ticket £35 Manchester city centre, in the heart of the Sunday Day Ticket £37 Education Quarter, on the corner of Oxford Road and Booth Street West. Oxford Road Concessions available on individual tickets. connects the RNCM by bus to the city centre, Tickets for individual events as listed in this and all of Oxford Road, Piccadilly and Victoria leaflet. For group discounts please contact train stations. Oxford Road Station the Box Office. is an easy 8 minute walk away. HOW TO BOOK Why not take advantage of the RNCM’s In Person Box Office, secure underground car park for just 124 Oxford Rd, Manchester, M13 9RD £3? It’s located next to the College in the By Phone 0161 907 5555 basement of Sir Charles Groves Hall off Online www.rncm.ac.uk Rosamund Street (open from 5pm on Friday (individual events only) and 8am on Saturday/Sunday) or one of the MOSLEY ST other car parks and on the mapDUCIE below. ST PORTLAND ST PRINCESS ST MANCHESTER CHORLTON ST FOOD AND DRINK LONDON RD PICCADILLY Metrolink FAIRFIELD ST There are refreshment facilities available at the WHITWORTHSACKVILLE ST ST DEANSGATE LOWER MOSLEY ST RNCM with the Café, Brodsky Restaurant and WHITWORTH ST WEST OXFORD ST Bar and the Concert Bar offering a range of MEDLOCK ST OXFORD CHARLES ST RD TO A57, A628 fresh, home-cooked and locally-sourced food + M67 ARDWICK GREEN SOUTH from just a coffee and a pastry to a three- MANCUNIAN WAY A57M CAMBRIDGE ST KINCARDINE RD GROSVENOR ST course meal. During term time Monday to UPPER BROOK ST A34 TO M602 (M60) A5103 Friday, the Café is open from 8am until the + M6 NORTH ROSAMOND ST BOOTH STP interval on performance nights; Brodsky is P 1 OXFORD RD 3 open from 11am until 8pm and the Concert BOOTH ST WEST LLOYD ST NORTH BRUNSWICK ST Bar is open from 5pm until 11pm. Outside P 2 term time and at weekends opening hours are dependent upon the performance programme. TO M56 Please call 0161 907 5353 or 5252 for full + M6 SOUTH details of menus and opening hours. DENMARK ROAD Wherever possible the RNCM uses Fairtrade products. .
Recommended publications
  • A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
    A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview
    [Show full text]
  • Magnificat in D Major, BWV
    Johann Sebastian Bach Magnificat in D Major, BWV 243 Magnificat Quia respexit Quia fecit mihi magna Et misericordia eius Fecit potentiam Deposuit potentes Suscepit Israel Gloria patri Sicut erat in principio *** Chorus: S-S-A-T-B Soloists: Soprano 1, soprano 2, alto, tenor, bass Orchestra: 2 flutes, 2 oboes, 2 oboes d'amore, 3 trumpets, timpani, strings, continuo ************************* Program notes by Martin Pearlman Bach, Magnificat, BWV 243 In 1723, for his first Christmas as cantor of the St. Thomas Church in Leipzig, Bach presented a newly composed setting of the Magnificat. It was a grand, celebratory work with a five-voice chorus and a colorful variety of instruments, and Bach expanded the Magnificat text itself by interpolating settings of several traditional Christmas songs between movements. This was the original Eb-major version of his Magnificat, and it was Bach's largest such work up to that point. About a decade later, he reworked the piece, lowering the key from Eb to the more conventional trumpet key of D major, altering some of the orchestration, and, perhaps most importantly, removing the Christmas inserts, so that the work could be performed at a variety of festivals during the liturgical year. It is this later D major version of the Magnificat that is normally heard today. Despite its brilliance and grandeur, Bach's Magnificat is a relatively short work. Nonetheless, it is filled with countless fascinating details. The tenor opens his aria Deposuit with a violent descending F# minor scale to depict the text "He hath put down [the mighty]". At the end of the alto aria Esurientes, Bach illustrates the words "He hath sent the rich away empty" by having the solo flutes omit their final note.
    [Show full text]
  • Rhythmic Foundation and Accompaniment
    Introduction To Flamenco: Rhythmic Foundation and Accompaniment by "Flamenco Chuck" Keyser P.O. Box 1292 Santa Barbara, CA 93102 [email protected] http://users.aol.com/BuleriaChk/private/flamenco.html © Charles H. Keyser, Jr. 1993 (Painting by Rowan Hughes) Flamenco Philosophy IA My own view of Flamenco is that it is an artistic expression of an intense awareness of the existential human condition. It is an effort to come to terms with the concept that we are all "strangers and afraid, in a world we never made"; that there is probably no higher being, and that even if there is he/she (or it) is irrelevant to the human condition in the final analysis. The truth in Flamenco is that life must be lived and death must be faced on an individual basis; that it is the fundamental responsibility of each man and woman to come to terms with their own alienation with courage, dignity and humor, and to support others in their efforts. It is an excruciatingly honest art form. For flamencos it is this ever-present consciousness of death that gives life itself its meaning; not only as in the tragedy of a child's death from hunger in a far-off land or a senseless drive-by shooting in a big city, but even more fundamentally in death as a consequence of life itself, and the value that must be placed on life at each moment and on each human being at each point in their journey through it. And it is the intensity of this awareness that gave the Gypsy artists their power of expression.
    [Show full text]
  • Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian Louisiana State University and Agricultural and Mechanical College, [email protected]
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Xian, Qiao-Shuang, "Rediscovering Frédéric Chopin's "Trois Nouvelles Études"" (2002). LSU Doctoral Dissertations. 2432. https://digitalcommons.lsu.edu/gradschool_dissertations/2432 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. REDISCOVERING FRÉDÉRIC CHOPIN’S TROIS NOUVELLES ÉTUDES A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Qiao-Shuang Xian B.M., Columbus State University, 1996 M.M., Louisiana State University, 1998 December 2002 TABLE OF CONTENTS LIST OF EXAMPLES ………………………………………………………………………. iii LIST OF FIGURES …………………………………………………………………………… v ABSTRACT …………………………………………………………………………………… vi CHAPTER 1. INTRODUCTION…………………………………………………………….. 1 The Rise of Piano Methods …………………………………………………………….. 1 The Méthode des Méthodes de piano of 1840
    [Show full text]
  • 574040-41 Itunes Beethoven
    BEETHOVEN Chamber Music Piano Quartet in E flat major • Six German Dances Various Artists Ludwig van ¡ Piano Quartet in E flat major, Op. 16 (1797) 26:16 ™ I. Grave – Allegro ma non troppo 13:01 £ II. Andante cantabile 7:20 BEE(1T77H0–1O827V) En III. Rondo: Allegro, ma non troppo 5:54 1 ¢ 6 Minuets, WoO 9, Hess 26 (c. 1799) 12:20 March in D major, WoO 24 ‘Marsch zur grossen Wachtparade ∞ No. 1 in E flat major 2:05 No. 2 in G major 1:58 2 (Grosser Marsch no. 4)’ (1816) 8:17 § No. 3 in C major 2:29 March in C major, WoO 20 ‘Zapfenstreich no. 2’ (c. 1809–22/23) 4:27 ¶ 3 • No. 4 in F major 2:01 4 Polonaise in D major, WoO 21 (1810) 2:06 ª No. 5 in D major 1:50 Écossaise in D major, WoO 22 (c. 1809–10) 0:58 No. 6 in G major 1:56 5 3 Equali, WoO 30 (1812) 5:03 º 6 Ländlerische Tänze, WoO 15 (version for 2 violins and double bass) (1801–02) 5:06 6 No. 1. Andante 2:14 ⁄ No. 1 in D major 0:43 No. 2 in D major 0:42 7 No. 2. Poco adagio 1:42 ¤ No. 3. Poco sostenuto 1:05 ‹ No. 3 in D major 0:38 8 › No. 4 in D minor 0:43 Adagio in A flat major, Hess 297 (1815) 0:52 9 fi No. 5 in D major 0:42 March in B flat major, WoO 29, Hess 107 ‘Grenadier March’ No.
    [Show full text]
  • UWM Department of Music Concert Program Style Guide
    UWM Department of Music Concert Program Style Guide Table of Contents 1. General Rules for All Titles 2. Generic Titles 3. Distinctive Titles 4. Composer Names & Dates 1. General Rules for All Titles 1.1 Titles (including movement titles) are capitalized following the rules of each language: a. English: capitalize all words except conjunctions, prepositions, and articles, unless they begin a title. b. French: capitalize all words up to and including the first noun; everything after that is lower case (except for proper nouns). c. German: capitalize first word, and all nouns. d. Italian & Spanish: capitalize first word, all else is lower case except proper nouns. 1.2 Movement Titles a. Movements follow under the main title; those in foreign languages should be italicized. b. Movement numbers are uppercase roman numerals (I, II, III, IV, rather than i, ii, iii, iv) c. If all movements of a work are performed in order, they do not need to be numbered; otherwise number the movements being performed with their original numbers. If only a few movements of many are being performed, it is possible to also add the word “Selections” in parentheses after the title to avoid confusion. Examples: Orchestral Suite No. 3 in D Major, BWV 1068 V. Bourrée VI. Gigue Carnaval des animaux (Selections) IV. Tortues XII. Fossiles d. It is appropriate to translate movement titles that might not otherwise be understood, particularly if they are not translated elsewhere in the program. Place translation(s) in parentheses. Example: Concerto for Orchestra I. Introduzione II. Gioco delle coppie (Game of Pairs) III.
    [Show full text]
  • Many of Us Are Familiar with Popular Major Chord Progressions Like I–IV–V–I
    Many of us are familiar with popular major chord progressions like I–IV–V–I. Now it’s time to delve into the exciting world of minor chords. Minor scales give flavor and emotion to a song, adding a level of musical depth that can make a mediocre song moving and distinct from others. Because so many of our favorite songs are in major keys, those that are in minor keys1 can stand out, and some musical styles like rock or ​ ​ jazz thrive on complex minor scales and harmonic wizardry. Minor chord progressions generally contain richer harmonic possibilities than the typical major progressions. Minor key songs frequently modulate to major and back to minor. Sometimes the same chord can appear as major and minor in the very same song! But this heady harmonic mix is nothing to be afraid of. By the end of this article, you’ll not only understand how minor chords are made, but you’ll know some common minor chord progressions, how to write them, and how to use them in your own music. With enough listening practice, you’ll be able to recognize minor chord progressions in songs almost instantly! Table of Contents: 1. A Tale of Two Tonalities 2. Major or Minor? 3. Chords in Minor Scales 4. The Top 3 Chords in Minor Progressions 5. Exercises in Minor 6. Writing Your Own Minor Chord Progressions 7. Your Minor Journey 1 https://www.musical-u.com/learn/the-ultimate-guide-to-minor-keys A Tale of Two Tonalities Western music is dominated by two tonalities: major and minor.
    [Show full text]
  • César Franck's Violin Sonata in a Major
    Honors Program Honors Program Theses University of Puget Sound Year 2016 C´esarFranck's Violin Sonata in A Major: The Significance of a Neglected Composer's Influence on the Violin Repertory Clara Fuhrman University of Puget Sound, [email protected] This paper is posted at Sound Ideas. http://soundideas.pugetsound.edu/honors program theses/21 César Franck’s Violin Sonata in A Major: The Significance of a Neglected Composer’s Influence on the Violin Repertory By Clara Fuhrman Maria Sampen, Advisor A thesis submitted in partial fulfillment of the requirements as a Coolidge Otis Chapman Scholar. University of Puget Sound, Honors Program Tacoma, Washington April 18, 2016 Fuhrman !2 Introduction and Presentation of My Argument My story of how I became inclined to write a thesis on Franck’s Violin Sonata in A Major is both unique and essential to describe before I begin the bulk of my writing. After seeing the famously virtuosic violinist Augustin Hadelich and pianist Joyce Yang give an extremely emotional and perfected performance of Franck’s Violin Sonata in A Major at the Aspen Music Festival and School this past summer, I became addicted to the piece and listened to it every day for the rest of my time in Aspen. I always chose to listen to the same recording of Franck’s Violin Sonata by violinist Joshua Bell and pianist Jeremy Denk, in my opinion the highlight of their album entitled French Impressions, released in 2012. After about a month of listening to the same recording, I eventually became accustomed to every detail of their playing, and because I had just started learning the Sonata myself, attempted to emulate what I could remember from the recording.
    [Show full text]
  • This Paper Is a Revised Version of My Article 'Towards A
    1 This paper is a revised version of my article ‘Towards a more consistent and more historical view of Bach’s Violoncello’, published in Chelys Vol. 32 (2004), p. 49. N.B. at the end of this document readers can download the music examples. Towar ds a different, possibly more historical view of Bach’s Violoncello Was Bach's Violoncello a small CGda Violoncello “played like a violin” (as Bach’s Weimar collegue Johann Gottfried Walther 1708 stated)? Lambert Smit N.B. In this paper 18 th ­century terms are in italics. Introduction Bias and acquired preferences sometimes cloud people’s views. Modern musicians’ fondness of their own instruments sometimes obstructs a clear view of the history of each single instrument. Some instrumentalists want to defend the territory of their own instrument or to enlarge 1 it. However, in the 18 th century specialization in one instrument, as is the custom today, was unknown. 2 Names of instruments in modern ‘Urtext’ editions can be misleading: in the Neue Bach Ausgabe the due Fiauti d’ Echo in Bach’s score of Concerto 4 .to (BWV 1049) are interpreted as ‘Flauto dolce’ (=recorder, Blockflöte, flûte à bec), whereas a Fiauto d’ Echo was actually a kind of double recorder, consisting of two recorders, one loud and one soft. (see internet and Bachs Orchestermusik by S. Rampe & D. Sackmann, p. 279­280). 1 The bassoon specialist Konrad Brandt, however, argues against the habit of introducing a bassoon in every movement in Bach’s church music where oboes are played (the theory ‘wo Oboen, da auch Fagott’) Bach­Jahrbuch '68.
    [Show full text]
  • Key Relationships in Music
    LearnMusicTheory.net 3.3 Types of Key Relationships The following five types of key relationships are in order from closest relation to weakest relation. 1. Enharmonic Keys Enharmonic keys are spelled differently but sound the same, just like enharmonic notes. = C# major Db major 2. Parallel Keys Parallel keys share a tonic, but have different key signatures. One will be minor and one major. D minor is the parallel minor of D major. D major D minor 3. Relative Keys Relative keys share a key signature, but have different tonics. One will be minor and one major. Remember: Relatives "look alike" at a family reunion, and relative keys "look alike" in their signatures! E minor is the relative minor of G major. G major E minor 4. Closely-related Keys Any key will have 5 closely-related keys. A closely-related key is a key that differs from a given key by at most one sharp or flat. There are two easy ways to find closely related keys, as shown below. Given key: D major, 2 #s One less sharp: One more sharp: METHOD 1: Same key sig: Add and subtract one sharp/flat, and take the relative keys (minor/major) G major E minor B minor A major F# minor (also relative OR to D major) METHOD 2: Take all the major and minor triads in the given key (only) D major E minor F minor G major A major B minor X as tonic chords # (C# diminished for other keys. is not a key!) 5. Foreign Keys (or Distantly-related Keys) A foreign key is any key that is not enharmonic, parallel, relative, or closely-related.
    [Show full text]
  • The Devil's Interval by Jerry Tachoir
    Sound Enhanced Hear the music example in the Members Only section of the PAS Web site at www.pas.org The Devil’s Interval BY JERRY TACHOIR he natural progression from consonance to dissonance and ii7 chords. In other words, Dm7 to G7 can now be A-flat m7 to resolution helps make music interesting and satisfying. G7, and both can resolve to either a C or a G-flat. Using the TMusic would be extremely bland without the use of disso- other dominant chord, D-flat (with the basic ii7 to V7 of A-flat nance. Imagine a world of parallel thirds and sixths and no dis- m7 to D-flat 7), we can substitute the other relative ii7 chord, sonance/resolution. creating the progression Dm7 to D-flat 7 which, again, can re- The prime interval requiring resolution is the tritone—an solve to either a C or a G-flat. augmented 4th or diminished 5th. Known in the early church Here are all the possibilities (Note: enharmonic spellings as the “Devil’s interval,” tritones were actually prohibited in of- were used to simplify the spelling of some chords—e.g., B in- ficial church music. Imagine Bach’s struggle to take music stead of C-flat): through its normal progression of tonic, subdominant, domi- nant, and back to tonic without the use of this interval. Dm7 G7 C Dm7 G7 Gb The tritone is the characteristic interval of all dominant bw chords, created by the “guide tones,” or the 3rd and 7th. The 4 ˙ ˙ w ˙ ˙ tritone interval can be resolved in two types of contrary motion: &4˙ ˙ w ˙ ˙ bbw one in which both notes move in by half steps, and one in which ˙ ˙ w ˙ ˙ b w both notes move out by half steps.
    [Show full text]
  • Major and Minor Scales Half and Whole Steps
    Dr. Barbara Murphy University of Tennessee School of Music MAJOR AND MINOR SCALES HALF AND WHOLE STEPS: half-step - two keys (and therefore notes/pitches) that are adjacent on the piano keyboard whole-step - two keys (and therefore notes/pitches) that have another key in between chromatic half-step -- a half step written as two of the same note with different accidentals (e.g., F-F#) diatonic half-step -- a half step that uses two different note names (e.g., F#-G) chromatic half step diatonic half step SCALES: A scale is a stepwise arrangement of notes/pitches contained within an octave. Major and minor scales contain seven notes or scale degrees. A scale degree is designated by an Arabic numeral with a cap (^) which indicate the position of the note within the scale. Each scale degree has a name and solfege syllable: SCALE DEGREE NAME SOLFEGE 1 tonic do 2 supertonic re 3 mediant mi 4 subdominant fa 5 dominant sol 6 submediant la 7 leading tone ti MAJOR SCALES: A major scale is a scale that has half steps (H) between scale degrees 3-4 and 7-8 and whole steps between all other pairs of notes. 1 2 3 4 5 6 7 8 W W H W W W H TETRACHORDS: A tetrachord is a group of four notes in a scale. There are two tetrachords in the major scale, each with the same order half- and whole-steps (W-W-H). Therefore, a tetrachord consisting of W-W-H can be the top tetrachord or the bottom tetrachord of a major scale.
    [Show full text]